Reissues īlue Hawaii was reissued on compact disc in 1997 and again in 2008. The Blue Hawaii soundtrack was nominated for a Grammy Award in 1961 in the category of Best Sound Track Album or Recording of Original Cast from a Motion Picture or Television. Popular music was on the threshold of complete renewal and change and Presley became 'lost in Hollywood'. This formula proved disastrous for Presley's career. Parker and Presley would focus on Elvis' film career, non-soundtrack albums taking a back seat with only six during the 1960s against 16 soundtrack albums among 27 movies and the comeback special. Blues, both of which sold in much greater quantity than Presley's two regular releases of the time, Elvis Is Back! and Something for Everybody set the pace for the rest of the decade. The success of this soundtrack and its predecessor G. The A-side "Can't Help Falling in Love," which became the standard closer for a Presley concert in the 1970s, went to number two on the Billboard Hot 100, while the b-side charted independently at number 23. The songs " Can't Help Falling in Love" and " Rock-A-Hula Baby" were pulled off the album for two sides of a single released on November 21, 1961. Recording sessions took place at Radio Recorders in Hollywood on March 21, 22, and 23, 1961.
The title song was taken from the 1937 Bing Crosby film Waikiki Wedding, and " Hawaiian Wedding Song" dates from a 1926 operetta. To coincide with the location of the film, touches of Hawaiian music were included, from instrumentation to the traditional song " Aloha 'Oe". On the bubbling grooves of "Trust" and "Boileau" and the rhapsodic pop of "Sparkle" and "Still I Miss U," Standell-Preston and Cowan exorcise the last remnants of heartache with enduring grace.RCA and Presley's manager, Colonel Tom Parker, had initially planned a schedule of one soundtrack and one popular music release per year for Presley, in addition to the requisite four singles. In between, Blue Hawaii prove that they've kept all the hazy sensuality that's defined their music since 2010's Blooming Summer EP - and that they now have more ways of expressing it. They make their longing for bygone days and sounds explicit on Open Reduction Internal Fixation's bookends: "All the Things" begins the album by melding vintage dance and R&B sounds into a dreamy meditation about an on-again, off-again relationship "Can We Go Back" ends the album with sweet reflections on the past. Blue Hawaii flirt with trance on "On a High," where strobing synths help the track live up to its name, and offer a blurry, reverb-drenched interpretation of house on "All That Blue," the closest they've come to a dancefloor anthem. Not only do Standell-Preston and Cowan revisit and expand on Tenderness' house and disco influences, they join artists as diverse as Hot Chip and Jenny Hval in their embrace of late-'80s and early-'90s dance sounds. Despite, or perhaps because of all this suffering, this is some of the duo's most joyous music. Meanwhile, Standell-Preston was recovering from another bad breakup.
The healing - both emotional and physical - continues on Open Reduction Internal Fixation, a set of songs that came about when Cowan injured his heel so badly that he had to return to Montreal from Germany to have the surgery that gives the album its title. It was a process that laid the groundwork for Tenderness, which explored the all-too-real heartache that followed the end of Standell-Preston's largely online relationship. After taking some time to rediscover themselves as friends and collaborators, Raphaelle Standell-Preston and Alexander "Agor" Cowan turned the end of their romantic partnership into their debut album, Untogether. When Blue Hawaii make an album, they're on a mission to transform pain into evocative electronic pop.
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